melodious and popular "_Fra Diavolo_" (1830) and many others, for more than twenty years still. Among them were "The Bronze Horse" (in 1835), "_Le Domino Noir_" (in 1837), and "The Crown Diamonds" (1831). Auber was elected member of the Institute in 1829, and in 1842 succeeded Cherubini as director of the Conservatory. He was an extremely witty and charming man, beloved by all. Contemporaneous with Auber, but more allied to the genius of Boieldieu, was Louis Joseph Ferdinand Herold, (1791-1833). After studying at the Conservatory and composing a number of operas which failed, or had but moderate success, he brought out "_Zampa_," in 1831. This work had an extraordinary success, and its overture is still often heard. Another work "_Le Pre aux Clercs_," (1832), is generally esteemed in France more highly than "_Zampa_," but outside of his native country public opinion universally regards the latter as his best work. Herold's operas are extremely well conceived from a dramatic point of view, and his melody has much of the sweet and flowing quality of the best Italian. His concerted numbers also are well made, and in all respects he is to be regarded as a master of high rank within the province of light opera, verging indeed upon the confines of the romantic type, like that of Weber. The true successor of Boieldieu, with perhaps somewhat less of originality, was Adolphe Charles Adam, (1803-1856), son of a piano teacher in the Conservatory at Paris. His most lasting work was "_Le Postillon de Lonjumeau_" (1836), in which the German tenor Wachtel made himself so famous. Most of the other productions of this clever, but not deep, composer, are now forgotten. In their day they pleased.